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Henderson insists that great jazz fusion requires a strong blues foundation. Without it, playing can sound sterile and overly academic.
Record a static drone or a simple II-V-I progression. Force yourself to solo using only the Altered scale over the V chord, resolving cleanly to the I chord. 📥 Implementing the PDF PDF Concepts
To help tailor this approach to your current playing level, let me know: Scott Henderson Jazz Fusion Improvisation Pdf
Check your local library’s digital archive or visit the Hal Leonard website today. The matrix of fourths, blues bends, and chromatic side-slipping is waiting for you.
(Dm7–G7–Cmaj7), Henderson suggests shifting pentatonics: : A minor pentatonic (up a 5th). : Bb minor pentatonic (up a minor 3rd). : B minor pentatonic (up a major 7th). Triad Pairs Henderson insists that great jazz fusion requires a
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It creates maximum tension, which makes your ultimate resolution sound incredibly satisfying. 3. Symmetrical Diminished (Half-Whole) Formula: 1 - b2 - b3 - 3 - #4 - 5 - 6 - b7 Force yourself to solo using only the Altered
Henderson is an strict alternate picker who occasionally economy picks over wide intervals. The PDF has "P" (Down) and "V" (Up) markings. If you ignore them, the licks will feel clunky. Solution: Practice each lick for one hour without plugging into an amp. Focus only on pick direction.
You can access the PDF and instructional content through several official and reputable platforms:
system, which allows players to navigate complex changes using familiar shapes. ii-V-I Mastery: For a Dm–G7–Cmaj7 progression, he might play Am pentatonic over the Dm, Bbm pentatonic over the G7 (for an altered sound), and Bm pentatonic over the Cmaj7. Outside Tones: whole-half diminished scale
What is your with jazz harmony (e.g., do you know your seventh chord arpeggios)?
